Disability And The Arts To Be Discussed Within D-CAF
In line with the Downtown Contemporary Arts Festival’s (D-CAF) commitment to addressing the...
Read MorePosted by Ahram Online | 23rd Mar 2018 | Egypt, Festivals, News, Theatre and Disability, United Kingdom
In line with the Downtown Contemporary Arts Festival’s (D-CAF) commitment to addressing the...
Read MorePosted by Madison Parrotta | 23rd Mar 2018 | New York, Review, Theatre and Disability, United States of America
What do you do with a disabled child you can’t emotionally support? While not the biggest question...
Read MorePosted by Christopher Harris | 23rd Mar 2018 | Festivals, Netherlands, Review, Theatre and Opera
If you ask any resident of Amsterdam: “how did the National Opera House look from the...
Read MorePosted by Noah Birksted-Breen | 23rd Mar 2018 | Adaptation, Russia, Translation, United Kingdom
I have just finished translating Mikhail Durnenkov’s The War Hasn’t Yet Started for the third time...
Read MorePosted by Sara Taylor | 23rd Mar 2018 | News, Participatory Theatre, Poland, Theatre and Disability, Theatre and Politics
The discussions framing social theatre are all too often carried out in the language of public...
Read MorePosted by Nobuko Tanaka | 22nd Mar 2018 | Adaptation, Japan, News, Theatre and Dance
Following a January press conference in which the New National Theatre, Tokyo, announced that...
Read MorePosted by French Culture | 22nd Mar 2018 | Adaptation, France, News, Theatre and Art, Translation
As a young French director visiting New York with his theater troupe, Paul Desveaux hardly...
Read MorePosted by Agata Tumiłowicz-Mazur | 22nd Mar 2018 | Festivals, News, Poland
The famous Polish critic Konstanty Puzyna once mused, “Why the hell even write about theatre if...
Read MorePosted by Aleks Sierz | 22nd Mar 2018 | London, Review, United Kingdom
How can you represent trauma in the theatre? Let’s count the ways: the naturalistic way tells a...
Read MorePosted by Aleks Sierz | 21st Mar 2018 | London, Review, Theatre and Politics, United Kingdom
Is it possible to get too much of American politics? With Donald Trump’s daily tweets invading our...
Read MorePosted by Patrick Langston | 21st Mar 2018 | Canada, Review
“I love you” doesn’t slip easily from Daphne’s tongue. But they are words that her grown...
Read MorePosted by Yulia Shamporova | 21st Mar 2018 | Acting, News, Russia
People’s Artist of the USSR, legendary Russian actor and director, Oleg Tabakov died on...
Read MorePosted by Aleks Sierz | 20th Mar 2018 | Adaptation, London, Musical Theatre, Review, United Kingdom
The late Derek Jarman’s 1978 film Jubilee is a punk classic. I think he was in his Fellini phase,...
Read MorePosted by Annamarie Jagose and Lee Wallace | 20th Mar 2018 | Australia, Review, Theatre and Gender
The idea that femininity is a social performance, while masculinity simply sets the coordinates...
Read MorePosted by Stephen Chinna | 20th Mar 2018 | Canada, Review, Theatre and Politics
In The Far Side of the Moon, Philippe and Andre, two estranged brothers, deal with the aftermath...
Read MorePosted by Vikram Phukan | 20th Mar 2018 | Acting, Festivals, India, Review
The Tenkutittu and Badagutittu traditional theatre styles of coastal Karnataka come alive. The...
Read MorePosted by Alan Williams | 19th Mar 2018 | News, United Kingdom
Watching an opera, play, or ballet has become an increasingly cinematic experience. “Livecasting”...
Read MorePosted by Julian Meyrick | 19th Mar 2018 | Adaptation, Australia, Festivals, Review
Arthur Danto, in his Analytic Philosophy of History, calls the common noun “scar” a...
Read MorePosted by Diwan Singh Bajeli | 19th Mar 2018 | Festivals, India, Review
Bharatmuni Rang Utsav saw some moving productions highlighting moral dilemmas and disturbing...
Read MorePosted by David Vernon | 18th Mar 2018 | Directing, Interview, New York, United States of America
My aesthetic as a stage director is built first on a desire to create an experience that captures the poetic nature of the human condition. It’s a desire to connect with something larger than our sense of self, something sacred. And that’s what I see as the beauty of the theatre. In terms of the expression of that desire, my process is to bring to life a very visual, theatrical, and specific life on stage that illuminates increments of thought as components of physical action, which is how I articulate the methodology of One-Thought-One-Action.
The beauty of OTOA is that if you want to, you can use it almost like the cinematic process of editing film where one can compose one frame of action at a time. It’s how the text supports the physical actions on stage so that even if you could turn off the sound of the actors, the viewer would still get the story being told through the visual embodiment of thought as physical action.
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